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The Academy of American Poets is the largest membership-based nonprofit organization fostering an appreciation for contemporary poetry and supporting American poets. For over three generations, the Academy has connected millions of people to great poetry through programs such as National Poetry Month, the largest literary celebration in the world; Poets.org, the Academy’s popular website; American Poets, a biannual literary journal; and an annual series of poetry readings and special events. Since its founding, the Academy has awarded more money to poets than any other organization.

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David St. John was born in Fresno, California, on July 24, 1949. He received his BA in 1974 from California State University, Fresno, and an MFA from the University of Iowa.

His many books of poetry include The Last Troubadour (Ecco, 2017); The Window (Arctos Press, 2014); The Auroras (HarperCollins, 2012); The Face: A Novella in Verse (HarperPerennial, 2005); Prism (2002); The Red Leaves of Night (HarperCollins, 1999); and Study for the World’s Body: New and Selected Poems (1994), which was nominated for the National Book Award.

He is also the author of the volume of essays and interviews Where the Angels Come Toward Us (White Pine Press, 1995) and coeditor, with Cole Swenson, of American Hybrid: A Norton Anthology of New Poetry (W. W. Norton, 2009). He is also the author of two libretti: one for Donald Crockett’s opera The Face, which is based on St. John’s book of the same name, and one for Frank Ticheli’s choral symphony The Shore.

“It’s not just gorgeous, it is go-for-broke gorgeous. It is made out of sentences, sweeping through and across the meticulous verse stanzas, that could have been written, for their velvet and intricate suavity, by Henry James.”

St. John is the recipient of many honors and awards, including both the Award in Literature and the Prix de Rome Fellowship from the American Academy of Arts and Letters, the Discovery/The Nation Prize, the George Drury Smith Award from the Beyond Baroque Literary Arts Foundation, and the O. B. Hardison Prize from the Folger Shakespeare Library. He has also received several National Endowment for the Arts Fellowships and a Guggenheim Fellowship. In 2016 he was elected to the American Academy of Arts and Sciences. He was elected a Chancellor of the Academy of American Poets in 2017.

St. John currently teaches in the PhD Program in Creative Writing and Literature and is the Chair of English at the University of Southern California. He lives in Venice Beach, California.

Los Angeles, 1954

It was in the old days,
When she used to hang out at a place
Called Club Zombie,
A black cabaret that the police liked
To raid now and then. As she
Stepped through the door, the light
Would hit her platinum hair,
And believe me, heads would turn. Maestro
Loved it; he'd have her by
The arm as he led us through the packed crowd
To a private corner
Where her secluded oak table always waited.
She'd say, Jordan...
And I'd order her usual,
A champagne cocktail with a tall shot of bourbon
On the side. She'd let her eyes
Trail the length of the sleek neck
Of the old stand-up bass, as
The bass player knocked out the bottom line,
His forehead glowing, glossy
With sweat in the blue lights;
Her own face, smooth and shining, as
The liquor slowly blanketed the pills
She'd slipped beneath her tongue.
Maestro'd kick the shit out of anybody
Who tried to sneak up for an autograph;
He'd say, Jordan, just let me know if
Somebody gets too close....
Then he'd turn to her and whisper, Here's
Where you get to be Miss Nobody...
And she'd smile as she let him
Kiss her hand. For a while, there was a singer
At the club, a guy named Louis--
But Maestro'd change his name to "Michael Champion";
Well, when this guy leaned forward,
Cradling the microphone in his huge hands,
All the legs went weak
Underneath the ladies.
He'd look over at her, letting his eyelids
Droop real low, singing, Oh Baby I...
Oh Baby I Love... I Love You...
And she'd be gone, those little mermaid tears
Running down her cheeks. Maestro
Was always cool. He'd let them use his room upstairs,
Sometimes, because they couldn't go out--
Black and white couldn't mix like that then.
I mean, think about it--
This kid star and a cool beauty who made King Cole
Sound raw? No, they had to keep it
To the club; though sometimes,
Near the end, he'd come out to her place
At the beach, always taking the iced whisky
I brought to him with a sly, sweet smile.
Once, sweeping his arm out in a slow
Half-circle, the way at the club he'd
Show the audience how far his endless love
Had grown, he marked
The circumference of the glare whitening the patio
Where her friends all sat, sunglasses
Masking their eyes...
And he said to me, Jordan, why do
White people love the sun so?--
God's spotlight, my man?
Leaning back, he looked over to where she
Stood at one end of the patio, watching
The breakers flatten along the beach below,
Her body reflected and mirrored
Perfectly in the bedroom's sliding black glass
Door. He stared at her
Reflection for a while, then looked up at me
And said, Jordan, I think that I must be
Like a pool of water in a cave that sometimes
She steps into...
Later, as I drove him back into the city,
He hummed a Bessie Smith tune he'd sing
For her, but he didn't say a word until
We stopped at last back at the club. He stepped
slowly out of the back
Of the Cadillac, and reaching to shake my hand
Through the open driver's window, said,
My man, Jordan... Goodbye.

David St. John

David St. John is the author of over ten collections of poetry, including Study for the World's Body: New and Selected Poems (Perennial, 1994), which was a finalist for the National Book Award. He currently serves on the Board of Chancellors of the Academy of American Poets.

by this poet

Vivian St. John (1881-1974)
There is a train inside this iris:
You think I'm crazy, & like to say boyish
& outrageous things. No, there is
A train inside this iris.
It's a child's finger bearded in black banners.
A single window like a child's nail,
A darkened porthole lit by the white,

I have always loved the word guitar.
I have no memories of my father on the patio
At dusk, strumming a Spanish tune,
Or my mother draped in that fawn wicker chair
Polishing her flute;
I have no memories of your song, distant Sister
Heart, of those steel strings sliding
All night through the speaker of

You ask me again this evening
at what price
Does wisdom finally come
in any life
Or at any age & now I think
I know
The answer swear to me that
when I tell you
It is only everything you believe
You will travel as far from this city
as you can before